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Japanese Swords: Can Tradition Outperform Modern Tech?

Mike Haskew
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Japanese Swords: Can Tradition Outperform Modern Tech?

There is plenty of lore surrounding traditional Japanese Swords, but do the master makers’ time-tested methods equal modern steel advancements?

Editor’s note: Long-time BLADE® subscriber and knife collector Rick Royster wrote us, wondering how the swords of the ancient Japanese samurai warriors would compare to today’s modern swords. Did all the steps the ancient Asian swordsmiths used really make a difference? “Employing special quenchants, some clay, some of this and that—is it science or mystical?” Rick asked. While we couldn’t test an ancient sword vs. one of today’s, we did go to the sources themselves for answers—some of today’s top swordsmiths.

The traditional Japanese sword blade is revered for its performance, perhaps even more than its beauty and ties to an uber-rich heritage in the world of cutlery. Combined, these elements make the classic Japanese sword something unforgettable, a work of art and poetry in motion—yet capable of delivering the decisive blow in combat.

Modern custom sword blades may not possess the allure of the centuries. They may not have a hamon—though many do—or the other attributes that make their vintage counterparts so revered. Nonetheless, they can claim respect and admiration when it comes to strength. If the comparison of relative strength is relevant and worthwhile, which is stronger—the ancient Japanese or the modern custom sword blade?

World-renowned Japanese swordsmith Yoshindo Yoshihara does yakire, the fast quenching of a sword, during one of his swordmaking demonstrations. (Aram Compeau image)
World-renowned Japanese swordsmith Yoshindo Yoshihara does yakire, the fast quenching of a sword, during one of his swordmaking demonstrations. (Aram Compeau image)

BLADE Magazine Cutlery Hall-of-Fame® member/ABS master smith Steve Schwarzer answers the question this way: “Modern steels are highly superior in almost every way except for visual structure. Traditional Japanese bladesmiths were all about taking inferior material, which was the best stuff on the planet at the time, and making it better. Modern steel is superior because it is a lot cleaner with alloys for specific jobs. Setting the structure up is what today’s American Bladesmith Society is all about: making steel better. It’s hard to compare the two, but modern steels are superior in edge holding and sharpness. Modern steel won’t bend like the old stuff because it is not designed to bend.

“Once you get the aesthetics out, the fancy hamons and stuff like that, ancient bladesmiths had a way to control the process in the old days from one portion of the blade to another. If you take a Japanese blade and quench and polish it, you have a big spring supporting the cutting edge, and that is why it would excel in battle.”

ABS master smith Zack Jonas sees the purpose as the primary differentiator in either case.

According to Steve Schwarzer, traditional Japanese bladesmiths took inferior material—the best stuff available at the time—and made it better. “Modern steel is superior because it is a lot cleaner with alloys for specific jobs,” he stated. He used modern steel and all the trimmings on his Japanese sword. (Eric Eggly/PointSeven sword image; image of Schwarzer by Chris Wellhausen)
According to Steve Schwarzer, traditional Japanese bladesmiths took inferior material—the best stuff available at the time—and made it better. “Modern steel is superior because it is a lot cleaner with alloys for specific jobs,” he stated. He used modern steel and all the trimmings on his Japanese sword. (Eric Eggly/PointSeven sword image; image of Schwarzer by Chris Wellhausen)

“The strength of the traditional Japanese sword would have been measured in its ability to withstand the test of battle without breaking,” he began. “By this measure, they were marvels of engineering. Today’s technology is capable of producing swords with performance characteristics that vastly exceed the finest traditional blades. We have steel mills producing bespoke blade alloys from ultra-precise ratios of refined base elements.

“We have modern heat-treating methods capable of holding plus-or-minus a fraction of a degree indefinitely within a perfectly controlled atmosphere. We have modern quenching oils and molten salt pots and ovens for tempering, and we have analytical tools that allow us to refine how we approach our materials. Traditional swords were purpose-built for war, and they lived up to those demands for a thousand years and more. But modern science gives us greater capabilities on a purely quantitative level.”

The cutting of the tatami mat—done here by James Williams during one of his Japanese sword demos at a past BLADE Show—is said to be a good analogue for testing cuts against a human target.
The cutting of the tatami mat—done here by James Williams during one of his Japanese sword demos at a past BLADE Show—is said to be a good analogue for testing cuts against a human target.

Schwarzer agrees that modern steel is produced in quantity, while the traditional Japanese sword blade was produced singularly.

“It truly takes a master to get the most out of any steel,” he remarked, “but modern steels are more forgiving because they are designed around production, not one-offs.”

Traditional Sword Construction

Dave Goldberg has made traditional Japanese swords since the 1990s and learned from masters in their construction, as well as in the forging of damascus. He sees the functionality of the traditional Japanese blade and says, “The edge of the sword blade is about 60-70 on the Rockwell scale and you want that to be about one-third of the blade area. The middle is somewhat hard, and the back is not hard but flexible.”

According to Zack Jonas, modern smiths have access to modern materials and technology, but in many or even most cases, modern swords are not made with careful consideration for the practicalities of combat. Zack’s wakizashi features a 22-inch damascus blade with a shinogi zukuri grind. Overall length: 28 inches. (SharpByCoop sword image; image of Zack by B. R. Hughes)
According to Zack Jonas, modern smiths have access to modern materials and technology, but in many or even most cases, modern swords are not made with careful consideration for the practicalities of combat. Zack’s wakizashi features a 22-inch damascus blade with a shinogi zukuri grind. Overall length: 28 inches. (SharpByCoop sword image; image of Zack by B. R. Hughes)

According to Jonas, the hardening process was essential during ancient times. The warrior absolutely depended on it. Traditional swordsmithing techniques have been refined over the course of centuries through the familiar process of trial and error.

“Since ‘error’ would have been a matter of life and death,” Zack observed, “we can say with a degree of confidence that traditional methods worked extremely well. For example, it was essential to employ differential hardening—which traditional smiths did by applying an insulative clay to the spine—because given the properties of the steel they were working with, a fully hardened blade would have created a number of problems both for the smith and for the warrior. It can be tricky to retrospectively disentangle the mystical from the scientific. Mystical practices that offered no benefit would have been winnowed out in favor of those that did, and those that did offer benefit can be scientifically explained today.”

Years ago, Goldberg traveled to Japan to study traditional sword blades under the legendary Yoshindo Yoshihara, whose family has practiced the art for no fewer than 10 generations.

Zack Jonas said modern steels can get harder, tougher and sharper than traditional Japanese tamagahane steel, but it remains important to remember that tamagahane was strong enough for a thousand years of battles. This traditional tamahagane was made in a smelter, or tatara. (Yoshihara Yoshikazu image)
Zack Jonas said modern steels can get harder, tougher and sharper than traditional Japanese tamagahane steel, but it remains important to remember that tamagahane was strong enough for a thousand years of battles. This traditional tamahagane was made in a smelter, or tatara. (Yoshihara Yoshikazu image)

“He taught me a lot of things about sword making,” Dave remembered, “and in his smithy, he had on the wall behind where he forges a Japanese shrine with lightning bolts hanging and incense burners, and there was a little teapot in the smithy, too. He said it was just decoration, but with the Japanese guys even if you are friends, there are still secrets. So, I put paper lightning bolts in my shop too—to protect my spirit and so the blades will come out well and get through the quench.”

Bound up in tradition, the mysticism makes the Japanese way an art form that can never be completely separated from its origins. Even in a straight-up test of strength, whether one steel prevailed over the other, there would be no loser. Each would continue to hold its relative place in time and space and fact and imagination.

“In absolute quantitative terms, traditional materials mostly do not offer performance advantages over their modern counterparts,” Jonas said, echoing Schwarzer’s observation. “For example, modern steels can get harder, tougher and sharper than traditional Japanese tamagahane steel, but it is still important to remember that tamagahane was strong enough for a thousand years of battles. Likewise, performance isn’t everything. One of the signature features of tamahagane is its appearance. It has aesthetic characteristics that modern steels lack entirely.”

Japanese Sword Features

Eighty-two-year-old Yoshindo Yoshihara, author of this classic Japanese sword and saya (scabbard), is generally recognized as the greatest maker of Japanese-style swords of his generation. (Francesco Pachi images)
Eighty-two-year-old Yoshindo Yoshihara, author of this classic Japanese sword and saya (scabbard), is generally recognized as the greatest maker of Japanese-style swords of his generation. (Francesco Pachi images)

Among the most noteworthy features found in traditional Japanese sword blades is the hamon, which Zack describes as the literal demarcation point between the hardened edge of the blade and its softer spine. The hamon, he says, is a visible representation of the technique that must be used due to the material constraints and demands of tamahagane steel.

It is visible due to light diffusing off the mixture of hard and non-hardened crystalline structures, where the hardened edge transitions to the softer spine. He adds that over time, the production of the hamon stretched beyond the practical necessities of the steel and into the realm of aesthetics. Whether the shape of the hamon has any bearing on the blade’s performance is an open question.

“Any steel hardened and tempered to its best molecular composition is good steel,” Goldberg commented. “Modern 80CrV2 steel is harder than any Japanese steel. Japanese steel can take it in battle, and from sword to sword, it can be amazingly hard. It becomes its own shield when the warrior holds it above his head and can then come around and cut the other guy. Japanese steel is really hard, but modern technology is something else. I have never seen anything harder than the CrV stuff. Everything is purpose-driven.”

Matt Venier made what he calls Mattyhagane to recreate tamahagane for the blade of his katana. The tsuka (handle) consists of a wood core with full rayskin and braided wrap. The tsuba (guard) and habaki (collar) are copper. (SharpByCoop images)
Matt Venier made what he calls Mattyhagane to recreate tamahagane for the blade of his katana. The tsuka (handle) consists of a wood core with full rayskin and braided wrap. The tsuba (guard) and habaki (collar) are copper. (SharpByCoop images)

Other attributes of the traditional Japanese sword, including the handle ornaments known as menuki, may contribute to performance as well. While some observers may see menuki as a sort of grip enhancement in functioning as a palm swell, allowing the user to index the sword better, others stress that they are primarily evidence of the maker’s desire to express his or her own identity and creativity. Menuki quite possibly can function on both levels.

Japanese Sword Folklore

Through the centuries, there have been claims that Japanese steel can perform certain tasks that modern sword steel cannot. Jonas says that many such contentions are simply folklore or myth and have been easily debunked.

“One popular example is the cutting of the tatami mat,” he related. “These straw mats, soaked in water and then rolled tightly together, are said to be a good analogue for testing cuts against a human target. It has been said that only the katana can do this well, but these days, videos can be found online showing a skilled swordsman cutting through a tatami with a blunted medieval-style longsword.

“The Japanese sword has been mythologized along with the warriors who made it famous. The samurai were incredible fighters who earned their reputation for fierce courage through feats in battle and cultural refinement. Their signature sword is a highly developed object with exceptional performance abilities, but traditional examples will not outperform their modern counterparts.”

Old & New Symbiosis

In the final analysis, the old and new steels co-exist, achieving a symbiosis, a sort of mutual respect. As Zack so aptly pointed out, the context of their comparison weighs in on the discourse.

“It is important to consider how this matter is discussed,” he noted. “Most of these topics bear on the question of superiority—what makes this sword better than that sword or vice versa—and while it is possible to give some answers in the absolute sense, there is a risk that these answers ignore important contextual factors.

“The traditional Japanese sword was designed for a particular form of combat and was designed with the constraints of the tools and materials available at the time,” he concluded. “Modern smiths have access to modern materials and technology, but in many or even most cases, modern swords are not made with careful consideration for the practicalities of combat. Modern smiths are unlikely to even be familiar with how a sword would need to behave in a fight.”

Times change, materials change, techniques and methods change. But through the ages, traditional icons endure, while new and emerging genres come to life and begin to build legacies of their own.

More On Swords:

Utility Of The Knife Hole: Poking Into This Modern Design

Mike Haskew
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Utility Of The Knife Hole: Poking Into This Modern Design

From tactical rings to signature openers: analyzing the practical advantages of negative space in blade engineering.

The hole in the handle or blade, or anywhere in knife construction, has something to tell the user. But what is it trying to say or do?

It is eye-catching but the hole and/or ring and the science that goes along with it complement the visual and the practical in knife use. Aesthetics, mechanics and utility are factors. After all, the essence of the knife is in its use as a tool, and who wouldn’t mind a prettier profile at the same time?

Original Hole

The story of the hole in the blade cannot be told without including Spyderco and its legendary leader, BLADE Magazine Cutlery Hall-of-Fame® member Sal Glesser. In the decades since Spyderco introduced its iconic hole in the blade, the company has produced countless folders that characterize the ease of opening inherent in the hole itself.

The story of the hole in the blade cannot be told without Spyderco and its legendary leader, Sal Glesser. The BLADE Magazine 1990 Overall Knife of the Year®, the blade-hole-opening Endura is one of the company’s longest-running models.
The story of the hole in the blade cannot be told without Spyderco and its legendary leader, Sal Glesser. The BLADE Magazine 1990 Overall Knife of the Year®, the blade-hole-opening Endura is one of the company’s longest-running models.

Sal said he well remembers the inspiration to step out with his company’s blades.

“The Buck 110 and Gerber Folding Hunter were the watershed change to locking knives, in my opinion,” he recalled. “I purchased a Buck 110 when they first came out. As a young man I learned to open the Buck and Gerber lockers with one hand using my thumb, pushing on the side of the blade. I was working late in the shop one night, payables, payroll, etc., and I thought to try to figure out a way to modify a folding knife so that anyone could learn to open [it] with one hand more easily and more safely than the way I was doing it.”

From that single thought, Glesser went to work. He experimented with adding to the blade for leverage—studs, discs, hoods and other things—but found they got in the way when cutting or sharpening and could “wave” the knife open unintentionally when deploying.

“So I started taking things away from the blade to create purchase for the thumb,” Sal continued. “I first roughed up the side of the blade, which worked, but not very well. Then I drilled a dent into the blade. A dent on both sides became a hole.”

Eureka!

Sal plowed ahead, making a rough prototype using a Japanese folder and welding a piece of drilling rod to the spine of the blade to add height. He ground it down to the thickness of the blade and then drilled the hole to test his ease-of-opening theory.

“We applied for a patent claiming a ‘ledge’ created by the edge of the hole that could be used by the fleshy part of the thumb to urge the blade open with one hand,” Sal recalled. “I chose to use a round hole because it was easier to make and was easily identifiable.”

The rest, as they say, is history.

From the first blade-hole model in 1981, the Spyderco Worker, the distance from the center of the pivot to the hole was analyzed while the optimal size of the hole for the average thumb was measured. Enhanced trademark work was successful in securing the round shape since copies were notable with different shapes to get around the word “hole” in the original Spyderco patent language. Hence, the company introduced the hole into its fixed blades as an identifier “large enough to be cleaned and small enough to be noticed.”

Perfecting the hole for its primary purpose of easy opening meant leaving a certain amount of steel above the hole to compensate for the space. “Some steels that are more brittle could be broken through the hole if pried with hard enough,” Sal concluded. “But the truth be told, there are millions of Spyderco knives in the marketplace over the past almost 50 years and there have been very few that were broken.”

Where & Why Of Holes

Toor Knives CEO Connor Toor says the hole/ring of the Cortano is between the handle and blade for several reasons, including deployment and retention, a tactile index for consistent hand placement, a lanyard attachment point, and an unmistakable visual signature. Another is the ability to choke up for precise cuts without losing control.
Toor Knives CEO Connor Toor says the hole/ring of the Cortano is between the handle and blade for several reasons, including deployment and retention, a tactile index for consistent hand placement, a lanyard attachment point, and an unmistakable visual signature. Another is the ability to choke up for precise cuts without losing control.

In overall perspective, the hole has its place in the fixed blade as well. The Toor Corporation Cortano sports the hole/ring for a simple reason according to CEO Connor Toor.

“A hole allows fast, ambidextrous one-handed deployment without extra hardware,” he explained, “and it keeps the blade profile clean and snag resistant. It also slightly reduces weight and manufacturing complexity compared with an added stud or thumb disc.”

The hole in the Cortano is located between handle and blade for several reasons, including deployment and retention, a tactile index for consistent hand placement, a lanyard attachment point, and an unmistakable visual signature that differentiates the knife. An added bonus, says Connor, is the ability of the user to choke up for precise cuts without losing positive control.

“We typically call it an ‘index/retention ring’ or simply the ‘deployment hole,’” Toor commented. “The concept is rooted in historic ring knife forms and modern karambit/utility designs more broadly, so while makers like Steve Likarich are part of that lineage, our design pulls from both traditional ring knives and contemporary tactical needs rather than a single source.

“Any aperture introduces stress concentration,” Connor continued, “but proper blade geometry, material selection and heat treatment mitigate that risk. We designed the Cortano so overall material thickness preserves strength around the hole. Real world testing and appropriate use show no practical durability issues when those engineering details are respected.”

Holes For Balance

The Formido fixed blade from Spartan Blades comes with a series of grip holes, that, explains company president Curtis Iovito (inset), “primarily tune balance by reducing handle weight.”
The Formido fixed blade from Spartan Blades comes with a series of grip holes, that, explains company president Curtis Iovito (inset), “primarily tune balance by reducing handle weight.”

The Formido fixed blade from Spartan Blades comes with a series of holes in the handle, and company president Curtis Iovito readily points to the advantages of the design.

“It’s primarily to tune balance by reducing handle weight,” he advised, “often to place the balance over the index finger. We’ll enlarge or shrink hidden holes under the scales to shift weight where it best serves the knife’s purpose. Looks can be a secondary benefit. Along with weight reduction, there are options for lashing or paracord wraps, and added indexing/traction without introducing weak corners. In some cases, they also enable spear mounting or other field attachments.”

Curtis adds that the parameters for the introduction of holes in the blade or body of the knife vary as to the designer’s objectives.

“There is no universal formula,” he related. Holes, however, must measure up to certain standards to “maintain strong ‘webs’ of material around fasteners and stress points, and scales must be clamped well to prevent lifting and contamination. Round holes are favored because they machine easily and avoid sharp internal corners that become stress risers during heat treat. Arched/rounded cutouts can add torsional strength as seen on our Enyo and Formido.”

Holes In Karambit

Designed by Joshua Swanagon, the TOPS Knives C.U.T. 4.0 is a hybrid karambit that combines the practicality of a utility knife with the defensive and combat features of a standard karambit. Its ringed handle is common to the pattern’s lineage while the utility drop-point blade is more of a traditional design element.
Designed by Joshua Swanagon, the TOPS Knives C.U.T. 4.0 is a hybrid karambit that combines the practicality of a utility knife with the defensive and combat features of a standard karambit. Its ringed handle is common to the pattern’s lineage while the utility drop-point blade is more of a traditional design element.

At TOPS Knives, the C.U.T. 4.0 is a hybrid karambit that combines the practicality of the utility knife with the defensive and combat features of the karambit. Its ringed handle is common to the karambit lineage while the utility drop-point blade is more of a traditional design element. The karambit hole itself is probably a derivative of agricultural use.

“It does seem to be the case that many karambits used in Asia were used as a tool first, cutting cane or other crops” said Craig Powell, TOPS general manager. “As a tool, the pinky is usually in the hole so that the knife can hang down from the hand while the user is picking up the harvest, and then it is swung back into the hand to use the cutting edge.

“I wouldn’t say there is a set rule on the size of the hole,” he added, “but too small makes it easy for fingers to get stuck, which can equal broken fingers or de-gloved fingers in situations where the knife can’t be dropped when needed. Too large makes the knife clunky to use and manipulate properly and too easy to drop. Definitely, there is a balance to be struck. The hole size we use for our karambits does vary somewhat with the overall size of the knife. Typically, the smaller the overall size, the less likely someone is going to use the knife while wearing gloves, so you can use a smaller hole to keep the overall profile of the knife smaller.”

The characteristic ring in the butt of the karambit adds versatility, and Iovito sees advantages in several areas.

“The ring allows rapid grip changes, secure retention of a short blade under stress, and manipulation without dropping the tool. On our CQB Tool, for example, the ring lets a user transition to a pistol grip in a pinch without discarding the blade. We use PEO Soldier [U.S. Army Program Executive Office] data on the average-gloved-finger size for reliable use with gloves. Our research points to about a 1 1/8-inch internal diameter as optimal—big enough for manipulation and glove use without binding, yet not so large that control gets sloppy or the blade flops on the finger. Too small risks pinching, circulation issues, and snagging; too large compromises indexing and retention.”

Michael Janich, special projects coordinator at Spyderco, agrees that the karambit has an agricultural lineage but adds that the island archipelagos of the Pacific, where the design developed, will often provide different cultural backgrounds to its story.

“After harvesting a bundle of vegetables, the handle was released, allowing the knife to hang from the pinky, freeing both hands to tie the bundle,” Janich reasoned. “In contrast, sheathing the knife every time was inefficient and would require the blade to be cleaned to prevent soiling the inside of the sheath. Logically and practically, this makes sense. Some stories of the origin of the karambit, though, suggest that it was developed primarily as a weapon.”

Arched/rounded handle cutouts can add torsional strength as seen on the Enyo by Spartan Blades.
Arched/rounded handle cutouts can add torsional strength as seen on the Enyo by Spartan Blades.

As for the dimensions of the karambit and its characteristic hole, Janich points out that some tools defined as karambits of Southeast Asian origin do not even sport the hole. Nonetheless, the hole defines the karambit today.

“The karambit is not the only historical knife to have a ring,” Michael added. “The Japanese kunai was a trowel-like tool that had a ring at the end of the handle. The ring could be used to enhance grip retention. It also allowed the tool to be hung from a cord for easy transport or for the attachment of a lanyard. The Chinese martial arts also had daggers with butt-mounted rings. In some systems of kung fu, the rings had no specific purpose and only served as pommels. The bird and trout knife, first introduced by Marble’s, also had a pommel ring. Of integral construction, the handle portion of the knife was very narrow, so the ring provided both retention and grip stability.”

Attraction Of The Design

Universally in the world of knives, the hole or ring has its place, its moment, its degree of usefulness. Ultimately, the user chooses the tool that suits the task at hand, and the presence of the hole, for easy opening, control or enhanced utility, is always a candidate for deployment.

More Knife Reviews:

Wa Handle: Japanese Ergonomics Are Revolutionizing Custom Kitchen Knives

Mike Haskew
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Wa Handle: Japanese Ergonomics Are Revolutionizing Custom Kitchen Knives

User-friendly custom takes on the classic Japanese knife handle abound.

The Japanese influence in kitchen knives is more or less a given. Those who work in food preparation, an art form unto itself, appreciate the style and utilitarian feel that the Japanese culture exerts on their vocation.

The kitchen knife has seen a wave of custom makers taking that context a step further. The knife is an extension of the hand and that extension starts with the handle. So, here again the ergonomics of Japanese influence emerge. The wa handle brings comfort and confidence to the kitchen user while also providing a sense of form, function and artistic expression for the custom maker.

The wa handle of Aidan Garrity’s santoku has largely parallel sides to the width of the ricasso with a small ‘beak’ at the bottom for hand retention and aesthetics. Blade steel: mosaic damascus. Vintage butterscotch Micarta® scales boast flat-shield cross-sections and G-10 spacers. Overall length: 14 inches. His list price for a similar knife: $2,300. Its sister piece is a Garrity nakiri that was featured on the March 2024 BLADE® cover. (SharpByCoop image)
The wa handle of Aidan Garrity’s santoku has largely parallel sides to the width of the ricasso with a small ‘beak’ at the bottom for hand retention and aesthetics. Blade steel: mosaic damascus. Vintage butterscotch Micarta® scales boast flat-shield cross-sections and G-10 spacers. Overall length: 14 inches. His list price for a similar knife: $2,300. Its sister piece is a Garrity nakiri that was featured on the March 2024 BLADE® cover. (SharpByCoop image)

According to maker Jacob Anstaett, the name itself is rooted in the Japanese language.

“Wa comes from the Japanese language and broadly translates as ‘harmony’ or ‘balance,’” he explained. “In knifemaking, it refers to the traditional Japanese handle style, which emphasizes simplicity, lightness and an ergonomic connection between the handle and the blade.”

Anstaett further defines the wa handle as “lightweight with forward-balanced design. Typically, it is either octagonal, oval or D-shaped in cross-section. The handle is crafted as a separate piece that fits onto a hidden tang rather than a full tang. The construction is what gives the blade its distinct balance, where the cutting edge feels alive in your hand instead of weighed down.”

A resident of Plano, Texas and a custom knifemaker for eight years, Jacob says his wa handle is an interpretation of the Japanese style.

Alex Töpfer described his wa-handled piece as “a general-purpose kitchen knife based on various santoku. The blade is 80CrV2 as it’s a good general steel I can forge and heat treat. The handle is Tasmanian blackwood to add some fanciness, and the same is true for the bronze bolster. It’s functional art you can appreciate as you use it to cook.” His price for a similar knife: $325. (Rod Hoare image)
Alex Töpfer described his wa-handled piece as “a general-purpose kitchen knife based on various santoku. The blade is 80CrV2 as it’s a good general steel I can forge and heat treat. The handle is Tasmanian blackwood to add some fanciness, and the same is true for the bronze bolster. It’s functional art you can appreciate as you use it to cook.” His price for a similar knife: $325. (Rod Hoare image)

“It’s best described as a variation of the traditional wa,” he explained. “I keep the core geometry usually as an octagon cross-section, but I adapt the dimensions slightly for comfort. Western chefs often prefer a little more thickness and resilience, so I adjust proportions while preserving the forward balance that makes wa handles so effective.”

Jacob devoted extensive time to the study of traditional Japanese wa handles and then embarked on his road to interpretation.

“Over time I developed my own hybrid approach,” he commented. “My reasoning was simple: I wanted to honor tradition while building something that stands up to modern kitchens. For instance, I blend traditional shapes with stabilized woods or composites, ensuring they can handle daily use in a busy Western kitchen without losing the essence of the Japanese design.”

What Makes A Wa Handle?

Elaborating on the spirit and style of the wa, Aidan Garrity of Iron Lion Blades in Madison, Connecticut remarked, “There are two schools of thought for what exactly categorizes as a wa handle. One is that the handle’s construction involves a hole the width of the knife’s tang being drilled into the handle, and the tang being enclosed in a slotted dowel to tightly fit into that round cavity. The other is that it is simply the style of the handle, usually slimline and often having angular geometries. For questions like these, I always answer with the understanding that it is just the style of the handle, but I personally consider the true wa handle to be one utilizing the dowel bedding construction.”

The wa handle of Mert Tansu’s gyuto has a half-inch-wide, 4-inch dowel (above) with a tang slot cut into it. “It is a traditional-shaped wa except for the internal structure,” Mert wrote. “While most Japanese blades are mounted to the handle with burning the tangs in, this is not possible with a hard timber-like ringed gidgee, and I glued mine in.”
The wa handle of Mert Tansu’s gyuto has a half-inch-wide, 4-inch dowel (above) with a tang slot cut into it. “It is a traditional-shaped wa except for the internal structure,” Mert wrote. “While most Japanese blades are mounted to the handle with burning the tangs in, this is not possible with a hard timber-like ringed gidgee, and I glued mine in.”

Australian custom knifemaker Mert Tansu follows the wa tradition with his own interpretation. His perspective includes a geometric aspect that broadens the possibilities with the style.

“Wa handles come in a few different geometries,” he related, “from round to oval, to semi-octagonal to full octagonal and D-shape. Compared to their Western counterparts they are not sculpted and flat. Most of the traditional wa handles will have a horn ferrule and magnolia wood body.”

The wa handle of Mert Tansu’s gyuto has a half-inch-wide, 4-inch dowel (above) with a tang slot cut into it. “It is a traditional-shaped wa except for the internal structure,” Mert wrote. “While most Japanese blades are mounted to the handle with burning the tangs in, this is not possible with a hard timber-like ringed gidgee, and I glued mine in.”
The wa handle of Mert Tansu’s gyuto has a half-inch-wide, 4-inch dowel (above) with a tang slot cut into it. “It is a traditional-shaped wa except for the internal structure,” Mert wrote. “While most Japanese blades are mounted to the handle with burning the tangs in, this is not possible with a hard timber-like ringed gidgee, and I glued mine in.”

Mert’s featured knife is a gyuto from his Hunter Valley Blades series of traditional Japanese chef’s knives with forged finishes and usually san-mai construction. He employed a dowel-bedding construction for the wa handle (page 16). He characterizes his chef’s knives as affordable and less time consuming to make than other custom types.

Specific features of the wa handle style translate into precision and control in the kitchen. He says that the flats allow the user to index the knife with ease. Despite the “stop sign” shape, the octagonal handle is quite comfortable and fashioned with precision on his disc grinder. Optimal length is a subjective question, but Mert likes paring knives with wa handles no longer than 4.7 inches, while handles of 5.3 to 5.5 inches work best in larger chef’s knives with overall lengths of 9.5 inches. For long slicing knives of overall lengths of 10.5 inches, he indicated he prefers a handle between 5.7 and 5.9 inches.

Wa Handle Interpretations

A custom knifemaker for seven years at his home near Melbourne, Australia, Alex Töpfer appreciates the employment of the hidden tang in his knife construction, and he says the wa-inspired handle works in both the active and aesthetic aspects of kitchen use.

“Obviously, I’m inspired by various styles of wa handles, specifically octagonal ones,” he commented, “and also the use of brass bolsters and guards in the Western context. The flats here are more to provide context with the organic, curved aspects of the wood grain and forged texture.

“I do think it’s important to have a flat [handle] surface that aligns with the blade, but the upper parts are more for looks. There is also the question of what an individual user likes. Personally, I prefer to use oval hidden-tang handles, but I do the occasional faceted one for practice and a change. I’ve only had problems when the tang is not long enough. So, I tend to go 2.75 to 3.15 inches of tang. That will support the handle during use. I have had issues with burl where the grain didn’t provide any strength, but a longer tang on that knife would have avoided the problem. Also, fancier materials might be easier to sell even if they’re not ideal. I like recycled ironbark but it doesn’t have that bling factor.”

The traditional handle of Dew Hara’s suigetsu has stabilized burl scales and a copper bolster. The 7-inch blade is tamahagane steel with a hamaguri grind. Overall length: 12.4 inches. (SharpByCoop image)
The traditional handle of Dew Hara’s suigetsu has stabilized burl scales and a copper bolster. The 7-inch blade is tamahagane steel with a hamaguri grind. Overall length: 12.4 inches. (SharpByCoop image)

Garrity demonstrates his skill with the wa in his mosaic damascus santoku blade that combines 1095 and 52100 carbon and 15N20 nickel-alloy steels. He used the Ferry Flip method* and then placed the multi-bar construction to be framed by a monosteel edge and spine bars. Aidan’s santoku has a sister blade, a nakiri featured on the cover of the March 2024 BLADE® (page 13). He made the nakiri with the same bar of mosaic damascus as his santoku.

“This handle is of my own design. It has largely parallel sides to the width of the ricasso with a small ‘beak’ at the bottom for hand retention, as well as aesthetics. It wasn’t based on any particular style,” he noted, “but it does categorize as a shield-shaped wa handle. The flats lend themselves to helping the user maintain proper edge alignment while cutting, as an overly round grip doesn’t offer much [user feedback]. In addition, the flats are somewhat easier to bring to a high finish.”

In constructing a wa handle, Aidan leans heavily on the length of the blade.

“Typically, 4½ to 5½ inches is seen as a natural range to balance average length and weighted blades,” he remarked. “Thicker and wider blades like nakiri and bunka will often be more forward weighted compared to the more generalist shapes like santoku. The handle is often too slim with poor retention for any large chopping blades or fighters. It’s best to stick to kitchen knives for this type of handle design.”

Eric Hemker uses synthetic tortoise shell for the wa handle of his chef’s knife. The flat-ground 7.785-inch blade is a damascus of 1084 carbon and 15N20 nickel-alloy steels. The spacers are green, black and white G-10. Overall length: 14 inches. (SharpByCoop image)
Eric Hemker uses synthetic tortoise shell for the wa handle of his chef’s knife. The flat-ground 7.785-inch blade is a damascus of 1084 carbon and 15N20 nickel-alloy steels. The spacers are green, black and white G-10. Overall length: 14 inches. (SharpByCoop image)

The where, why and how of the wa are revealed in various interpretations, put to work with enthusiasm in the kitchen, and exhibit style and beauty whether in the midst of meal preparation or displayed for all to see. Their aesthetic is timeless, but so is their capacity to make the work of the chef an adventure in creativity.

*Editor’s Note: Named in honor of its creator, award-winning bladesmith Tom Ferry, the Ferry Flip is a variation on the canned steel technique. It basically consists of cutting slices at a 35-degree angle off the end of a damascus billet. The resulting tiles are rotated and forge welded together to form a new billet. As a result, instead of the pattern showing on the end of the new billet, the pattern repeats itself along the new billet’s face.

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Bloodlines: Emerson Knives Is A Family Affair

Mike Haskew
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Bloodlines: Emerson Knives Is A Family Affair

The Emerson Family shares decades and generations in knives.

Through the years, the name Emerson Knives has come to represent outstanding craftsmanship, quality and overall excellence in the knife industry. And each member of the Emerson family has contributed in his and her own way.

“They grew up in the shop, both Megan and Rachael while my shop was at home, and Lucas was born after we opened our production factory,” Ernest Emerson remembered. “So we fenced off a corner in Mary’s office for him as a baby and a toddler. They have all worked in the company since the beginning, and today Mary is the overall manager, Megan is director of marketing, Rachael is operations director, and Lucas is engineering and is being groomed to run the shop. Me, I’m the government mule.”

For some it would be enough to say with pride that the family has built the Emerson Knives brand together, each contributing in his or her own way. But the Emersons have taken their commitment to excellence and the already incredible story of their enterprise to a new level. Each one of them has completed an Emerson original, a knife of their own from concept to finish, and Ernest has had the pleasure of watching the extraordinary conclusion of this labor of love and pure knifemaking joy.

“I didn’t know any of them would ever want to make a knife,” he confessed, “and with their personal lives being so busy outside of work I didn’t know if they would ever have time to do something else. Megan is busy raising a family and runs a working ranch in Colorado. Rachael is busy with Jiu Jitsu and finishing up her second degree in nutritional therapy. Lucas is hardcore into training and computer programming, and Mary runs our business, which by itself is a 24/7 job, and still manages to cook dinner, keep our house in order, and even fits in a round of golf when she can.”

(From left) Megan, Mary, Ernest and Lucas hold their knives at BLADE Show 2025. Megan, Mary, Lucas and Rachael all had their knives debut at the show. Rachael was unable to attend due to a special family event. (BLADE® image)
(From left) Megan, Mary, Ernest and Lucas hold their knives at BLADE Show 2025. Megan, Mary, Lucas and Rachael all had their knives debut at the show. Rachael was unable to attend due to a special family event. (BLADE® image)

Still, with everything else that demands their most precious commodity—time—the Emersons have expressed themselves in the actual completion of the tool that has been the centerpiece of their lives as long as they can remember. It almost feels like destiny, like it had to happen. And despite the headwinds, it has.

Earliest Memories

Twenty-four now, Lucas started making knives officially in January 2023, though he has watched and learned since his earliest memories.

“I have always had a passion for making things, and with my dad as a mentor knifemaking has become second nature to me. For me, making knives was never a question of ‘why?’ but of ‘why not?’”

At BLADE Show 2025, Lucas chose to debut his newly designed MX-400 model. He wanted to produce a compact knife ideal for everyday carry.

“The MX-400 I had on display at the BLADE Show with pearl-handle scales will go into my personal collection,” he said. “I did bring three other MX-400s to the show, which I sold via lottery.”

Lucas makes knives part time and devotes plenty of energy first to the production company, Emerson Knives, Inc. At some point in the future, he may turn to knifemaking full time, but for now he manages the best of both endeavors. The most difficult part of the knifemaking process, he says, is grinding the blades.

Lucas Emerson debuted his MX-400, “a compact knife that is ideal for everyday carry,” at BLADE Show 2025. He put the one in mother-of-pearl scales he displayed at the show in his personal collection.
Lucas Emerson debuted his MX-400, “a compact knife that is ideal for everyday carry,” at BLADE Show 2025. He put the one in mother-of-pearl scales he displayed at the show in his personal collection.

“This is the quickest way to make mistakes,” he advised, “and it tends to be quite time consuming. Luckily, I’m pretty consistent and at this point I’ve got nothing to do but improve. On the other hand, the easiest part of my knifemaking is the hand finishing. This is where I take my time making sure everything is clean, even and symmetrical. I would consider it foundational for the knives I intend to create.”

For his next knife, Lucas intends to design a fixed blade for his own everyday carry. “I want something that I can carry with me at all times,” he noted, “and which I can rely on for any situation that may arise. It will need to be versatile, easy to maintain and easy to conceal on my person.”

Stay tuned!

Iron Lotus

Rachael Emerson Hardin has been making knives for about 20 years now, much of her experience being directly engaged in the business.

“I started assembling knives when I was in high school,” she remembered. “I would leave school after lunch my junior and senior year, drive to work, and assemble until they turned the lights off. I’m still here making knives years later, so I guess you could say I enjoy it.”

For years, the idea of designing and finishing her own knife had been in the back of Rachael’s mind.

“I always had favorite designs of my dad’s and thought how cool it would be to make something like that but with my own flair,” she reflected. “It wasn’t until recently when Lucas began coming up with his own designs that it dawned on me—maybe I can try this too! I’ve been around this my whole life. I know what works and what doesn’t. It couldn’t hurt to try.”

Rachael took the knifemaking plunge with her own design that she calls Iron Lotus, and she is enthusiastic about more knives to come. To date, there are two prototypes. It is her first design, and the plan is for her to keep one and possibly sell the other.
Rachael took the knifemaking plunge with her own design that she calls Iron Lotus, and she is enthusiastic about more knives to come. To date, there are two prototypes. It is her first design, and the plan is for her to keep one and possibly sell the other.

So Rachael took the plunge with her own design that she calls Iron Lotus, and she is enthusiastic about more knives to come.

“It’s hard to say that this is my favorite yet,” she related. “My favorite knives aren’t because of the way they look on paper generally. It comes after the production process. Behind the scenes I experience all the hiccups and fallbacks firsthand. Some knives go together like peanut butter and jelly. Others need tweaking.”

As for her own creations, the 37-year-old Rachael is optimistic about the future.

“Heck yeah, I’m going to make more knives. I live, eat and breathe knives. It’s in my blood. Eventually, the Emerson kids will take over the business. Making knives is fun. There is something very freeing about it. And I have the best teacher in the world.”

To date, there are two prototypes of Rachael’s Iron Lotus. It is her first design, and the plan is to keep one of them and possibly sell the other.

“I’m not sure about carrying it because it is a little fancy,” she observed. “I have a few ideas that I’ve been brainstorming. Currently I’ve been diving deep into Japanese-style blades. I’m a big fan of the Japanese tanto. I love simple designs too, like the gentleman’s folder.”

Paying Tribute

With her completed knife, Megan Emerson Gomez, 41, fulfilled an ambition that had lingered for many years. She has also been captivated by Japanese-style blades and used that energy in her own creation.

“I have always been a big fan of the traditional tanto,” she commented, “so I thought I would design something with that look. My design is called the Shinobi or M-Shinobi [Ninja]. This was the first knife I have entirely designed, but I have been involved and making design suggestions for many years. The CQC-17 model blade design was my idea, and I am sure you can see the similarities in my latest design.”

Megan parlayed her long-time admiration for tantos into the Shinobi/M-Shinobi. Though she has been involved in making design suggestions for many years, it is the first knife she designed entirely by herself. As she noted, “The CQC-17 model blade design was my idea, and I am sure you can see the similarities in [the Shinobi].”
Megan parlayed her long-time admiration for tantos into the Shinobi/M-Shinobi. Though she has been involved in making design suggestions for many years, it is the first knife she designed entirely by herself. As she noted, “The CQC-17 model blade design was my idea, and I am sure you can see the similarities in [the Shinobi].”

Megan was positive about the outcome of her completed project from the moment it began, and she looks back at the experience with quiet confidence.

“I never once doubted that I could finish it, but there was a moment where I had to decide if I was willing to push forward with a design that really didn’t look like a typical ‘Emerson.’”

Staying the course, she produced an exceptional piece and recalls that the most challenging aspect of the experience was paying tribute to history.

“The most difficult part was respecting the traditional tanto shape while still making it feel like mine. The style carries serious weight. It’s steeped in warrior culture, precision and intention. I wanted to channel that strength into something functional, modern and personal. Getting the balance right between tradition, aggression and clean design took the most time and thought. The easiest part then was handing it over to my dad. Once the design was dialed in, I knew exactly who should bring it to life.”

Mom’s Time

Each of the Emerson children accomplished an ambitious task that required a step up in devotion to the art and craft, the imagination and precision, that come together in a completed knife. Then, of course, Mom tried her hand as well, and the effort produced a beauty.

“I just started making knives about a year ago,” Mary remarked. “I have been around knives and knifemaking for years and years, so I kind of had a head start on things. I wanted to make a knife for a long time but it was hard to find the time. I’ve had lots of ideas and designs just sitting on the backburner for quite a few years.”

From left at right are Megan, Rachael, Mary with Lucas asleep in the baby carrier and Ernest. Among those in the front of the table at left are knife purveyors Bob and Linda Neal, Karen and Jay Sadow and BLADE Magazine Cutlery Hall-of-Fame® member Dan Delavan.
From left at right are Megan, Rachael, Mary with Lucas asleep in the baby carrier and Ernest. Among those in the front of the table at left are knife purveyors Bob and Linda Neal, Karen and Jay Sadow and BLADE Magazine Cutlery Hall-of-Fame® member Dan Delavan.

At long last, Mary’s time did come.

“I really have liked our CQC-15 and the Persian-esque blade styles, and I liked our Specwar handle,” she noted. “I like the curved and recurved blades, so my two designs, the Denali and the Falcon, reflect my likes in blade designs.

“Grinding the blade was the hardest part. It’s the dirtiest and most gritty part of the process. Getting one side ground the way I wanted it still left the other side to match up. The easiest part was the design. That was an easy day for me.”

During one grinding session, Mary toyed with the idea of halting the project—but only for a moment. “Ernie kept coming in and checking my grind lines. I told him to get out,” she smiled, “and I locked the grinding room door!”

Mary’s next knife adventure, though she will probably never be full time due to all her commitments to the business, is a fixed blade that is small enough to wear on her belt while riding her horse.

Next Mission

Along with Ernest, Mary looks at the body of work that surrounds the family, the business enterprise with so many facets and opportunities, the work of a lifetime, and the possibilities of the future. And yes, there is something else.

“Additionally,” she stated, “I’m very proud that my children are so interested in carrying on the family legacy. My next mission is to get the grandkids interested and involved. I’m very much looking forward to that.”

Mary’s partiality to curved and recurved blades is reflected in her two designs, the Denali and the Falcon, the latter here in two handle iterations. “Grinding the blade was the hardest part,” she noted. “Getting one side ground the way I wanted it still left the other side to match up.” During one grinding session, she considered halting the project—but only for a moment. “Ernie kept coming in and checking my grind lines. I told him to get out,” she smiled, “and I locked the grinding room door!”
Mary’s partiality to curved and recurved blades is reflected in her two designs, the Denali and the Falcon, the latter here in two handle iterations. “Grinding the blade was the hardest part,” she noted. “Getting one side ground the way I wanted it still left the other side to match up.” During one grinding session, she considered halting the project—but only for a moment. “Ernie kept coming in and checking my grind lines. I told him to get out,” she smiled, “and I locked the grinding room door!”

Meanwhile, Ernie surveys the current scene with satisfaction and gratitude. He wanted to be surrounded by a family of knifemakers and that has actually come to pass. His quiet observation has made the situation even more satisfying.

“I never expected any of them to make knives, but deep down of course I wanted them to,” he reflected. “In any endeavor you undertake, if your heart is not in it you will never have the same enthusiasm and drive than when you are doing something you love and want to do. It is very satisfying because I never pushed any of them to pursue the craft. All of them chose to do it of their own accord, and that makes it even better.”

Just to put the experience in perspective, Megan, Rachael and Lucas validate their father’s approach. They confirm that he encouraged, advised and taught but never forced a single grind, pin or hand finish on them.

“I wanted to design a knife for as long as I can remember,” Megan said, “and I think my whole life he has been training me to make knives and run the business. I have been involved in the business since I was a little girl. I watched him grinding knives in our garage, and the ladies we hired assembled knives in our living room.”

Rachael offered, “My dad has always provided feedback to me over the years. His father and sister, my grandpa and aunt, were both teachers. So, it’s always been something he has done.”

Lucas was a hands-on learner.

“From a young age, I remember my dad allowing me to help him with his own custom knives,” he recalled. “This is where I spent most of my time learning, not only the craft but also the principles behind Emerson designs. I work on my own now, but if I ever have any questions my dad is there to provide the best answers he can. He is an excellent teacher in this regard and has always been my go-to person for advice.”

In a most rewarding way, the knife life of the Emerson family has come full circle. The generations have discovered and honored that common thread, one that binds them together like nothing else.

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Knife Warranty Claims: The Good, Bad And Ugly

Mike Haskew
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Knife Warranty Claims: The Good, Bad And Ugly

Some knife warranty claims stretch the limits, while others are just plain bizarre.

It’s an honorable option, a sensible aspect of a purchase contract, but can be the source of confusion, head scratching and plain ridiculousness.

The warranty is the buyer’s insurance policy. It’s the seller’s willingness to stake a reputation for quality on the performance of the product—in this case, a knife—or at least that’s what it’s meant to be. However, there are times when real life strains what is actually believable. So, when we explore the nature of the warranty with some of the finest knife companies in the world, a few of their warranty claims simply flirt with the edge of reason.

Wacky warranty claims, contentions from supposedly “dissatisfied” customers, are out there. Frankly, when some of these are brought to light, they are simply unbelievable. Give a nod to customer creativity, but then get real and consider what happens to a solid performing knife that is not simply put to good use, hard work and tough labor. Beating a knife with a hammer, soaking the handle and blade in corrosive liquid for an extended period, or shooting the defenseless edged tool with a gun are all beyond the pale. Follow such escapades with a dose of sheer audacity and what you get are warranty claims that would make a rational individual shake his or her head.

After an Army Special Forces soldier used his Chris Reeve Yarborough to cut a live electric cable during a mission, he sent in the damaged knife with $50 asking for repairs. The company sent the $50 back along with a new knife. Anne Reeve keeps the original knife, shown here, in her safe deposit box.
After an Army Special Forces soldier used his Chris Reeve Yarborough to cut a live electric cable during a mission, he sent in the damaged knife with $50 asking for repairs. The company sent the $50 back along with a new knife. Anne Reeve keeps the original knife, shown here, in her safe deposit box.

“A customer put a MagnaCut blade in a glass of saltwater for seven hours and claimed the rusting and pitting should be covered by our warranty!” recalled Anne Reeve of Chris Reeve Knives. “Another requested we replace the packaging of the parts he ordered because they smelled too strongly of perfume or lotion. A customer sent a knife in for a re-blade, and the original blade had an arrow and a smiley face welded onto it.”

Really? Try a few more from Chris Reeve Knives. A customer complained that the phosphor bronze washers of his Sebenza had stains on them and simply would not accept that it was normal patina. He also complained that the knife was not sharp and he had to sharpen it himself. He ground half the blade away and then said he should get a completely new knife. A customer shot his knife with a 9mm pistol and then sent the company a photo of the broken knife while requesting a new one under the standard warranty.

At Chris Reeve Knives, reputation is everything, and the company stands by its knives. But let’s sanity check. Warranties are not “get out of jail free cards” for new knives.

“We try to keep consistency in our warranty, but we do sometimes vary on case-by-case situations,” Anne explained. “Over the years we have tightened things up a bit because often we felt we would give an inch and the customer would take a mile.”

“Normal blade finish wear is not covered under warranty,” Daniel Winkler observed. “Working knives should look used.” The Winkler Hunter Axe LT shows some normal finish wear here. (Covert image)
“Normal blade finish wear is not covered under warranty,” Daniel Winkler observed. “Working knives should look used.” The Winkler Hunter Axe LT shows some normal finish wear here. (Covert image)

Still, going out of their way to accommodate, the folks at Chris Reeve Knives have had some remarkable experiences.

“Mostly the customers who push back are simply rude,” Anne related. “Some just hang up or threaten to sell their knife. A customer informed us once that they had cut very acidic fruit multiple times and refused to clean the knife afterwards. They were furious we would not warranty their now rusted blade. Another customer took his brand new Umnumzaan and stabbed in into a tree. He then pried it 90 degrees to ‘tip test’ it. The tip snapped, and he claimed we should warranty the blade because what he did should not be considered misuse or abuse.”

Among unusual requests that Chris Reeve Knives went beyond the call of duty, or warranty, to make right, Anne has great memories. When a customer sent a 5.5-inch Green Beret in for recoating and it was lost in return shipping, the company made a custom iteration of the discontinued 5.5-inch knife from a 7-inch Green Beret blade blank. A sheath was available from the company archives and both were sent to the customer. When Reeve knives were abused by U.S. Customs officials, the company removed the scratches caused by bouncing around loose in transit, making the owner happy even though there was no warranty obligation. After an Army Special Forces soldier used his Yarborough to cut a live electric cable during a mission, he sent in the damaged knife with $50 asking for repairs. The company sent the $50 back along with a new knife.

Anne Reeve said a customer put the MagnaCut stainless steel blade of a Chris Reeve knife in a glass of saltwater for seven hours and claimed the rusting and pitting should be covered by the company’s warranty. Of course, like all stainless steels, MagnaCut stains less but is not stain proof. Quite understandably, the warranty request was denied.
Anne Reeve said a customer put the MagnaCut stainless steel blade of a Chris Reeve knife in a glass of saltwater for seven hours and claimed the rusting and pitting should be covered by the company’s warranty. Of course, like all stainless steels, MagnaCut stains less but is not stain proof. Quite understandably, the warranty request was denied.

“That original knife lives in my safe deposit box now,” Anne smiled. “On a few occasions we have older knives returned for sharpening and we can tell that the knife has been lovingly sharpened so many times that the blade is worn out. We have replaced the blades. When we made the One Piece Range, the paperwork specifically said that it was not a throwing knife and breakage from throwing would not be covered by warranty. A couple of times we had knives returned that were broken in two. The dings made it quite obvious that the knife had been thrown. Back then, we would replace the knife and give the customer a verbal slap on the wrist.”

Though Reeve, like other companies, has found it necessary to scrutinize warranty requests more closely in recent years, the dedicated effort to make the customer happy remains strong. At Chris Reeve Knives, the warranty is, as Anne puts it, “phenomenal.”

Judgment Calls

When did the rules change? Where does the line between normal expectation and radical knife recklessness blur?

A closeup of the blade and edge damage the Chris Reeve Knives Yarborough incurred after being used by the SF operative to cut a live electric cable is a tribute to the toughness of the company’s knives.
A closeup of the blade and edge damage the Chris Reeve Knives Yarborough incurred after being used by the SF operative to cut a live electric cable is a tribute to the toughness of the company’s knives.

“We’ve had a few forgeries sent to us for repairs,” commented BLADE Magazine Cutlery Hall-of-Fame® member Daniel Winkler of Winkler Knives. “Reactions from customers can get hot when they learn they have been duped. Not many warranty requests are really ‘crazy’; normal sharpening or sometimes fixing a damaged tip. People also request a re-finish for worn blades. If a knife fails for any reason we will either fix it or replace it, and normal blade finish wear is not covered under warranty. Working knives should look used.”

Winkler is sensitive to certain situations and sees extraordinary conditions for what they are.

“On a few occasions we have sent replacement knives without receiving damaged ones back,” he remarked. “One was a military user that used his knife to destroy a communications location in a war zone. He fried the power supply, and it fused the knife in the connection. Another was a hiker who saved his dog in a rockslide. His knife fell to the bottom of a gorge, so we replaced it, too. A third was used in a home situation where a man used his Winkler knife to stab an intruder to save his family. His knife was held as evidence, so we sent him a new one.”

A tornado destroyed a home and carried away a safe full of knives, including several TOPS Knives models. Two to three years later, the safe was found. The knives were intact and basically undamaged. When TOPS was contacted for help with slight rust on the blade and engraving, the company obliged at no cost.
A tornado destroyed a home and carried away a safe full of knives, including several TOPS Knives models. Two to three years later, the safe was found. The knives were intact and basically undamaged. When TOPS was contacted for help with slight rust on the blade and engraving, the company obliged at no cost.

There lies the real judgment call in rendering the warranty verdict. Does the customer’s story pass the simple test of reasonableness? If so, most companies might feel a pang of compassion and try to resolve the request in the interest of good customer relations. Still, it’s a tough challenge sometimes. As much as a customer might feel slighted if a warranty request is dishonored, the maker might well feel used when the circumstances are not plausible or strain the normal standards that most people would accept.

“We go out of our way to promote positive customer relations,” Daniel added. “We have replaced or refunded knives and axes that we probably shouldn’t have due to how they were damaged in abuse, like prying or throwing. We will normally take the hit, but if it happens again we do not honor any warranty.”

Case-By-Case Decisions

At TOPS Knives, warranty requests are evaluated with the best outcome in mind. “Our philosophy on our warranty is that we have some things that will void a warranty or won’t be covered under warranty, but we still handle them all on a case-by-case basis,” remarked general manager Craig Powell. “The people that are honest and level with us are way more likely to get their issue handled under warranty—even if it shouldn’t be—than people that are rude or clearly lying to us.

“I always find it funny when someone says something happened to their knife and then the actual damage to the knife in no way matches their description,” Powell continued. “Like, maybe they think we don’t actually use or test our own gear and so we don’t know what would cause certain things to happen. But really, in the end very few people that contact us with an issue treat us poorly. So the vast majority get help under warranty.”

Back to the TOPS Tom Brown Tracker that was lost in the Iraqi IED incident: the local who originally found it after the explosion used it to split wood. The saw teeth had basically been mushroomed out of existence from the local beating on the knife with a piece of metal. Considering how the U.S. serviceman originally lost the knife, TOPS fulfilled the warranty.
Back to the TOPS Tom Brown Tracker that was lost in the Iraqi IED incident: the local who originally found it after the explosion used it to split wood. The saw teeth had basically been mushroomed out of existence from the local beating on the knife with a piece of metal. Considering how the U.S. serviceman originally lost the knife, TOPS fulfilled the warranty.

Powell remembers certain circumstances that were somewhat unusual prior to a warranty request.

“When I had only been working here for a year or two, I took a call from a guy that was concerned about an issue with his Silent Hero. I talked to him for probably 15 minutes trying to figure out what was wrong. He kept saying that the knife was getting deformed and all he was doing was [batonning the blade spine to make] firewood. It probably took me longer than it should have, but I finally thought to ask what he was using as a baton. Turns out he was using the hammer side of a hatchet as his baton. So, a thick piece of metal is what he was using rather than a stick. I chuckled to myself and then we talked through the process of having a hatchet in your hand and choosing to use a knife to process firewood rather than the hatchet. He said ‘Oh!’ Then he basically apologized and said he understood. We didn’t end up fixing that knife for him, but that was because he realized what he had done and probably kept it as a reminder or trophy.”

On another occasion, a tornado destroyed a home and carried away a safe full of knives, including TOPS models. Some two to three years later, the safe was found. The knives were intact and basically undamaged. When TOPS was contacted for help with slight rust on the blade and engraving, the company obliged at no cost. Hikers have been known to lose TOPS knives on the trail and then miraculously find them months later. When the owner of one of these calls for warranty assistance, the TOPS folks fix the knives up, cleaning and refurbishing before sending them back in the context of a lesson learned: hold onto your valuables while out in the woods, especially your knife.

Extreme Situations

Military experiences have brought up several warranty requests, and these are sometimes caused by extreme situations. A Tom Brown Tracker was lost during the horrific explosion of an IED (improvised explosive device) in Iraq. The soldier involved was a chaplain, who returned some time later to the village where the explosion occurred. An old lady came forward with his knife after an interpreter and a $20 bill did some talking. The knife had been used in splitting wood.

“It was beat to hell,” Powell remembered. “The saw teeth had basically been mushroomed out of existence from this lady beating on it with a piece of metal. We swapped the soldier a new one and still have that knife [above] here today.”

A TOPS Knives Black Rhino was lost when a desert barracks burned to the ground. The scales were completely gone and the knife could not be repaired. TOPS sent the destroyed piece back to the serviceman along with a brand-new Black Rhino like this one.
A TOPS Knives Black Rhino was lost when a desert barracks burned to the ground. The scales were completely gone and the knife could not be repaired. TOPS sent the destroyed piece back to the serviceman along with a brand-new Black Rhino like this one.

A Black Rhino was lost when a desert barracks burned to the ground. The owner recovered the knife. Its scales were completely gone and the knife could not be repaired. TOPS sent the destroyed piece back to the serviceman along with a brand-new Black Rhino.

“While our policy isn’t a no-fault policy, we still cover most issues,” Craig said. “We know what we’re making is quality, and we strive for that on every knife. So anything that a customer’s knife should be able to do but doesn’t is going to get covered.”

In the broadest sense, the warranty works both ways. It protects buyer and seller and invokes the sense of quality and pride of craftsmanship, with reasonable performance expectation and use. There are outliers, but for the most part both knifemaker and knife user work together with warranties to achieve positive resolutions.

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Damascus Flaws: How To Spot Imperfections in Custom Knives

Mike Haskew
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Damascus Flaws: How To Spot Imperfections in Custom Knives

Learn how to spot flaws in Damascus steel blades, like delamination and inclusions, with expert tips from master bladesmiths.

They may be small and insignificant or obvious and glaring, but the skill that is involved in forging damascus steel and then fashioning blades and furniture that adorn custom knives like no other component naturally produces the potential for flaws in the steel itself.

Ironically, the structure of damascus steel, the allure of its beauty and texture, images and etched artistry, is brought together with the potential for a flaw. The production of billets that contain welded elements of 1080 carbon- and 15N20 nickel-alloy steels or other variations involves the marriage of metals. And like any union there is the possibility of a fault. The flaws may be serious or inconsequential. For the buyer, the ability to spot an imperfection and make a value judgment is highly beneficial in the ownership experience.

“I would say the most common flaw in a damascus blade is delamination,” ABS master smith Lin Rhea opined. “This shouldn’t be in a knife that is offered for sale. It’s usually evident as a hairline void in the layering and could occur anywhere on a blade. But I see them mostly in the deepest part of the blade as they are revealed in the bevel grinds. I believe this could be prevented by being sure the billet is up to proper welding heat before extracting it from the forge for the first weld in the particular stage of pattern development.”

In a similar perspective, ABS master smith Bill Burke sees imperfections as “a closed shut or incomplete weld that can be found anywhere on the blade. It can be seen as a dark or silvery line in lightly etched damascus or becomes a deep crevasse on heavily etched damascus—and it is caused by the smith not letting a billet soak at heat long enough before welding, or by manipulating a weld that has not been fully set and then working this tear back into the pattern.”

Fortunately for knife enthusiasts, most quality damascus knives are free of flaws, such as Eliot Maldonado’s saddlehorn trapper in Blackbird damascus by Chris Zimmerman. (Jocelyn Frasier image)
Fortunately for knife enthusiasts, most quality damascus knives are free of flaws, such as Eliot Maldonado’s saddlehorn trapper in Blackbird damascus by Chris Zimmerman. (Jocelyn Frasier image)

ABS master smith Steve Randall agrees and sees these types of imperfections and other potential flaws as well.

“The most common flaw on a damascus blade is the cold shut or an area where the pieces did not weld,” he observed. “It is not so much where it occurs on the blade such as the tip, edge or spine, but where the two different steels meet in the pattern. It’s the two steels that didn’t weld together that creates the flaw, and sometimes they aren’t noticed until [the maker starts] grinding into the blade.

“I would say another common flaw for damascus, mosaic specifically, would be shadow lines from the tiling process,” Steve continued. “Structurally they don’t change the steel, but they can detract from the mosaic visually.”

Both Rhea and Burke have encountered other flaws related to the fusion of the two steels in damascus.

“Less common is an inclusion of some kind,” Burke explained. “Twenty years ago flux inclusions were fairly common. Now one sees inclusions of weld filler material, though, overall, inclusions are less common now than 20 years ago. Inclusions are always found in between the elements that make up the pattern in a bar of damascus.”

Lin added, “I’ve also seen where the maker has left a bit of welding rod material within the damascus blade. This appears as a cloudy gray area and is pretty distinct in appearance from the hardened damascus. In the event wrought iron or mild steel is mixed with high carbon and the layering is of a relatively low number count, this could be part of the intended pattern, so it might be acceptable.”

“If you’re at a show and feel you want to look at the blade under a magnifier, then you should ask the maker if he minds,” Bill Burke noted. “If he says ‘no’ or gets upset, then thank him and walk away.” (Eric Eggly/PointSeven image)
“If you’re at a show and feel you want to look at the blade under a magnifier, then you should ask the maker if he minds,” Bill Burke noted. “If he says ‘no’ or gets upset, then thank him and walk away.” (Eric Eggly/PointSeven image)

According to ABS master smith/BLADE Magazine Cutlery Hall-of-Fame® member Steve Schwarzer, the particular combination of steels might raise the prospects for a flaw to develop, especially when the skills of the maker are evolving. He commented.

“The worst flaws are the delaminations and inclusions,” he said. “These might come from poor welding practices and the choice of alloys involved. Some welds are much easier to make than others and a higher level of skill may be required. Most of it is visual—bad welds are bad welds and don’t have the necessary molecular bond.”

For a potential buyer the ability to spot a flaw is an attribute that pays off when dollars are exchanged for the finished product. Although a flaw may have no impact on the structural integrity of the damascus steel itself, the degree of impairment—if any—ultimately lies with the potential buyer who assesses the level of discrepancy. Approaching a maker’s table, discussing the damascus, and taking a closer look at the blade will sometimes generate relevant conversation and exchange of information. Flaws can show up anywhere in damascus construction, so visual inspection comes with the territory.

Schwarzer advises buyers to check the knife thoroughly.

“Using magnification helps. If the blade doesn’t look right, it probably isn’t. A flaw may show up as a bright spot in a dark area, and some skilled people can reweld their billets. I do that regularly and especially when I do guards and stuff, taking a light hammer and welding heat to fix it, but not everything can be repaired. Sometimes there is no way to repair it, and that is one reason why I hardly ever sell damascus steel—[and if I do] only to skilled professionals.”

Visual Signs

When a buyer’s interest is piqued, the next steps involve courtesy and cordial exchange with the knifemaker.

“Flaws in damascus can range from very hard to see to blaring and obvious,” Burke remarked. “An experienced eye in good light and magnification are the best ways I know to detect them. Some can be felt, but feeling the blade and running your fingers up and down and across it are not reliable and can cause rust and tarnish. If you’re at a show and feel you want to look at the blade under a magnifier, then you should ask the maker if he minds. If he says ‘no’ or gets upset, then thank him and walk away.”

Steve Randall said most makers would not intentionally sell a knife knowing it had a flaw or without first pointing it out to the buyer. Gene Osborn (right) discusses a damascus knife with a customer at a past BLADE Show. (Eric Eggly/PointSeven image)
Steve Randall said most makers would not intentionally sell a knife knowing it had a flaw or without first pointing it out to the buyer. Gene Osborn (right) discusses a damascus knife with a customer at a past BLADE Show. (Eric Eggly/PointSeven image)

Randall concurs with that point of view.

“Bright light sure helps,” he observed. “It is difficult to find small flaws once a damascus blade has been etched. Running your fingers over the blade won’t tell you anything, and if you’re at a show I advise not doing it. Using a magnifying glass at the maker’s table could be awkward, and I would suggest respectfully asking before doing it.”

Historically, skilled makers and smiths have assessed their own work and identified flaws, correcting them or chalking up a flawed blade to the hazards of the craft. When ABS master smith Mike Quesenberry considers the flaw in context, he is frank in his response.

“The smith sees the weld lines with flaws before the steel is etched. To me that is something the smith has to deal with. I don’t have any problem scrapping a blade if [a flaw] shows up in the process. The hand sanding and grinding are where the time is really invested, and makers should be honest with their work. If you see a flaw, scrap it,” he stressed. “The best way to fix a flaw is to throw that blade away and start over again.”

Schwarzer smiles when he relates the style of an ancient practice.

“Japanese smiths worked out a way to hide a flaw if it didn’t mechanically affect the viability of the blade. They would do a nice little gold inlay. That was done in Persia, too, and a lot of other places. They would put artwork over something that was unseemly. If you have $300 in a blade and there is no mechanical problem, then that is a way to make it go away. It’s been said that the difference between a journeyman and a master smith is the size of the screw-up you can fix.”

Rhea acknowledges the human side of the situation. There may be a temptation to continue working on a knife with a flaw in the damascus, but then comes the realization on the part of the maker that causes him to refrain from that option. “When a buyer sees any odd discoloration in the form of surface treatment, color or texture, ask questions and give the maker the opportunity to explain or rethink his position,” he noted.

Resolving Situations

Bladesmiths and custom makers are genuinely committed to excellence. However, at times there may be a situation involving a flaw. When a purchaser detects something that may or may not be an imperfection, talking with the maker can resolve the situation to mutual satisfaction.

A welding flaw might pass a cursory glance, which is why you should always inspect any damascus blade you plan to buy closely.
A welding flaw might pass a cursory glance, which is why you should always inspect any damascus blade you plan to buy closely.

“If you buy a blade and then find a flaw, you should contact the maker and ask them about it,” Burke advised. “If it is something you cannot live with, ask for a refund or allow the maker to replace the flawed knife. In most cases, the maker is going to be unaware of the flaw. If the maker is aware of the flaw or refuses to do anything for you, then you either have to keep it and say, ‘Oh well’ or sell it to someone else with full disclosure of the flaw.”

“When I have a buyer who experiences issues of any kind, I would prefer that they contact me and give me the opportunity to evaluate, discuss and make it right,” Randall noted. “I’m sure most makers would not intentionally sell a knife knowing it had a flaw or without first pointing it out to the buyer.”

Rhea sees the interested parties taking the high road in almost every case. “Most makers will honestly make a sale with good intent and in good faith,” he reasoned. “If there’s a problem just contact the maker and let him or her explain or make it right. Ultimately his reputation is on the line and he deserves the chance to make it an overall pleasant experience.

“When it comes to flaws and issues,” Lin concluded, “we all have them and we handle them in our own ways. To the degree we act to prevent problems for the buyer we also prevent problems for ourselves as makers, as well as enhance our reputation. Leaving flaws in damascus will reflect on our honesty and our attitude toward the buyer. This is something to think about very seriously. So, will there be problems? Yes, but we should go to great effort to prevent them rather than having to correct things that might be perceived as an oversight. In the end, we are human and will want to use common courtesy and humility in our dealings.”

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Hottest Damascus Patterns, According to Top Bladesmiths

Mike Haskew
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Hottest Damascus Patterns, According to Top Bladesmiths

Top bladesmiths discuss the three hottest damascus patterns.

As damascus patterns emerge through the years, their popularity waxes and wanes. The steel itself, layers of intrigue and interest, experimentation and innovation captivate the steel forger, the custom maker and the knife-buying public like nothing else. The patterns abound and in recent reviews of photos, commentary from those in the business and observation it appears that the feather and mosaic, with twist not far behind, have been and continue to be hot.

“I agree that feather and mosaic patterns are predominantly what is made, or certainly what is getting photographed [a lot],” related ABS master smith Steve Randall. “Both patterns are popular because they have lots of character and can be pretty dramatic. Feather patterns are very cool because they can be unique yet still hold true to the feather pattern. The mosaics can move off into so many different styles. They allow the maker to be really creative.”

Feather Damascus Pattern

ABS master smith Bill Burke praises the versatility of the feather pattern and its breadth of presentation.

“I think that you see a lot of feather pattern because it is so striking and looks good on almost any knife style,” he commented. “It is also quite a challenge to produce. A well-done feather will have a flow from end to end with nicely curved veins, while a feather that has interruptions in the pattern or has the center area drawn out into a long ‘V’ shape then curves out rather sharply to the edge is not done so well. I don’t feel a feather pattern is difficult to do after one has mastered pattern welding. It becomes difficult when an inexperienced smith rushes into trying to make a feather before mastering basic pattern-welding techniques.”

“Feather patterns are very cool because they can be unique yet still hold true to the feather pattern,” Steve Randall observed. He matches up the feather pattern with a mastodon ivory handle on his frame-handle hunter. Overall length: 9 inches. (SharpByCoop image)
“Feather patterns are very cool because they can be unique yet still hold true to the feather pattern,” Steve Randall observed. He matches up the feather pattern with a mastodon ivory handle on his frame-handle hunter. Overall length: 9 inches. (SharpByCoop image)

BLADE Magazine Cutlery Hall-of-Fame® member and ABS master smith Steve Schwarzer sees the artistry in the feather pattern as well, and when he considers the magnitude of its relative surge concludes, “Absolutely. What you don’t see much of is images and the forge skill required to put that in damascus. Both the feather and mosaic damascus are fairly easy to do, and with the internet there are thousands of recipes out there with visual step-by-step instructions. I did the first feather pattern ever done in a folding knife, and [Cutlery Hall-of-Famer] Don Fogg in his Life and Death Dagger was the only one who did a feather pattern before me. I did the first that was recognizable in the folding knife.”

Degree of difficulty is and will forever be a matter of individual perspective and opinion. Randall stresses the experience level of the maker in fashioning the feather pattern.

“I would say that feather damascus can be a difficult pattern,” he offered. “There are a lot of pieces that have to forge weld together, which opens the opportunity for cold shuts or poor welds. Once that happens, you’ve pretty much got a paper weight.”

Mosaic Damascus Pattern

The perspective on mosaic damascus is similar to that of the feather pattern. Its uptick in popularity is driven by the skill of the maker and the diversity of the presentation. Mosaic makes its statement in both subtle and bold blade aesthetics.

“While a simple twist pattern is rather mundane,” Bill Burke noted, “when four or more bars are twisted in opposite directions and stacked one on top of the other to create a Turkish twist, the result can be striking.” A lavish five-bar Turkish-twist damascus comprises the blade, including the Spanish notch at the base of the edge, on Mike Quesenberry’s Mediterranean bowie. (SharpByCoop image)
“While a simple twist pattern is rather mundane,” Bill Burke noted, “when four or more bars are twisted in opposite directions and stacked one on top of the other to create a Turkish twist, the result can be striking.” A lavish five-bar Turkish-twist damascus comprises the blade, including the Spanish notch at the base of the edge, on Mike Quesenberry’s Mediterranean bowie. (SharpByCoop image)

“Mosaic patterns do lend themselves to individual creativity,” Burke remarked. “They can vary from not too hard to extremely difficult to do. Mosaics are limited only by the smith’s skill and imagination. Mosaics that are done well will have the patterns lined up with no unintended interruptions in the elements and all the individual tiles matched up well.”

Tiles, incidentally, are the small, angled pieces of steel that are carefully assembled and then forge-welded together to create the distinctive, repeating mosaic pattern. The tiles are cut from the billet or block of welded steel that forms the basis for the creation of any damascus pattern. The tile cuts are made with a scarf joint that facilitates the joining of the surfaces to be mated during the forge welding process.

ABS master smith Mike Quesenberry is a big fan of the mosaic pattern, particularly its possibilities for expression.

Mike Quesenberry stated the black and silver contrast of mosaic patterns can do “all kinds of crazy, wild things. It is huge with so many possibilities, and it turns out to be a really good pattern that some like in a fine look and others prefer in a bold statement.” The Sobral Brothers go bold with the pattern on their keyhole subhilt fighter. Overall length: 13 inches. (SharpByCoop image)
Mike Quesenberry stated the black and silver contrast of mosaic patterns can do “all kinds of crazy, wild things. It is huge with so many possibilities, and it turns out to be a really good pattern that some like in a fine look and others prefer in a bold statement.” The Sobral Brothers go bold with the pattern on their keyhole subhilt fighter. Overall length: 13 inches. (SharpByCoop image)

“I love mosaic and its creativity,” he declared, “along with the fact that smiths can take mosaic and make it bold or fine and there are all sorts or variations that make it fantastic, from W’s to many others. You can add different layers to fine and thick material, 1080 or 15N20 or whatever alloy. That black and silver contrast can do all kinds of crazy, wild things.

It is huge with so many possibilities, and it turns out to be a really good pattern that some like in a fine look and others prefer in a bold statement.”

Things To Look For

Assessing the quality of the individual feather and mosaic product is an exercise in discernment and preference along with the display of basic skill that is evident. Randall takes a subjective point of view.

“One of the most important signs of a feather pattern that is well done is its flow through the blade,” he observed. “The feather should flow from the center of the ricasso through the blade and out the tip. Both feather and mosaics being well done are in the eye of the beholder. Layer count has a big impact. The higher the count does not always make the pattern better.”

Bill Burke indicated a well-done feather pattern will have a flow from end to end with nicely curved veins. ABS master smith Scott Gallagher nails the concept in the feather-pattern blade of his Dolan Dagger Folder. Closed length: 5.25 inches. (Jocelyn Frasier image)
Bill Burke indicated a well-done feather pattern will have a flow from end to end with nicely curved veins. ABS master smith Scott Gallagher nails the concept in the feather-pattern blade of his Dolan Dagger Folder. Closed length: 5.25 inches. (Jocelyn Frasier image)

Schwarzer agrees that the individual’s taste has a tremendous weight in the interpretation of well-done damascus.

“It’s all subjective,” he related. “It involves how pleasing to the eye the fine or bold patterns are. The whole thing can’t be just a hodgepodge of stuff stuck together. It has to tell a story, and if it tells a story, then it is art—and to a lot of people it is great art. There is stuff out there that is incredibly complicated to do that looks simple on the face of it, but it isn’t. We are in the infancy of pattern welding, and a lot of it has come from Daryl Meier.

“There have been patterns out there with faces and images in them since the 1700s,” Steve continued, “and now we are painting with steel. When Bill Moran showed up with random-pattern blades in the early ’70s, he was continuing something that had never stopped. Pattern welding has probably been going on for 4,000 years, and you have to forge, fold and weld the iron to clean it. Then, when you get the alloy in there, it shows the pattern. Pattern welding, including feather and mosaic damascus, is a technique and a skill set that is developed. Once you develop that skill, the trick is to get it back together without flaws, turning something mundane into something striking. Mosaic requires more planning and skill than feather.”

One of the pioneers in—and a most outstanding forger of—Turkish twist damascus is Jerry Rados (inset), who forged the steel for the Wall Street Knife by Joe Kious. Jerry’s Turkish twist has what Steve Schwarzer calls a kaleidoscopic appearance. (KnifePurveyor.com knife image)
One of the pioneers in—and a most outstanding forger of—Turkish twist damascus is Jerry Rados (inset), who forged the steel for the Wall Street Knife by Joe Kious. Jerry’s Turkish twist has what Steve Schwarzer calls a kaleidoscopic appearance. (KnifePurveyor.com knife image)

Twist Damascus Pattern

Although some patterns may stand out from others for a while, there are always those that maintain their place among the most popular. Twist patterns and specifically Turkish twist are regularly in the conversation when collectors are seeking their prize blade.

“Twist and Turkish twist are the same and totally different at the same time,” smiled Burke. “While a simple twist pattern is rather mundane, when four or more bars are twisted in opposite directions and stacked one on top of the other to create a Turkish twist, the result can be striking. However, like almost all other patterns these two can also be drawn out or stretched too far, which detracts from the looks of the pattern. While a simple twist is relatively easy, the Turkish twist billet is wrought with potential for failure and is very labor intensive.”

A key element in producing twist patterns is control, and Schwarzer respects the precision required.

“Very precise control is necessary in the twisting so you get that twisting the same in fine or coarse layers,” he said. “Jerry Rados was the American guy who did the most of that, and we both learned from Daryl Meier in Carbondale [Illinois]. The early blades made by Daryl in the 1980s are beautiful, but you’ve got to be almost [obsessive compulsive] to produce that stuff. It involves a lot of planning and the turns have to be precise. You can twist mosaic and make it look like a kaleidoscope.”

Chris Roosendaal’s feather pattern in 1084 carbon- and 15N20 nickel-alloy steels borders on the mesmerizing. The scales are black G-10 and Micarta®. Overall length: 11.22 inches. (Rod Hoare image)
Chris Roosendaal’s feather pattern in 1084 carbon- and 15N20 nickel-alloy steels borders on the mesmerizing. The scales are black G-10 and Micarta®. Overall length: 11.22 inches. (Rod Hoare image)

Randall says that a Turkish twist done right is “very classy.” Its degree of difficulty is a cut above basic twist, but in his experience, it isn’t quite as demanding as feather pattern work due to the requirement of fewer pieces to “cut, flip and weld together.”

When Quesenberry talks Turkish twist, he affirms his love of the look but decries the amount of waste he sees in its production.

“I’m a huge fan,” he commented, “and I love the fact that it’s an appealing pattern. But I don’t like the huge amount of waste. To me, the cool pattern is in the middle third of the bar. There aren’t really a lot of American and European guys into Turkish twist, but some of the South Americans are really pros who are turning out some bold patterns.”

Shifting Damascus Pattern Preferences

Of course, the shifting preferences and envelope of creativity that is constantly pushed keep the damascus conversation going. And it is likely to remain lively long into the future.

“Trying to say one pattern or another is more popular is always subjective,” Randall concluded. “There are some great classic patterns that are very appealing. For example, the ladder, twist, crushed W’s and others. Sometimes the mosaics get visually busy, so some people don’t enjoy them as much, but who doesn’t love a feather or explosion pattern? They are too cool. Some of it does depend on the overall knife design. The blade design and size with guard and handle can enhance—or take away—from a pattern.”

Considering damascus pattern popularity past, present and future, one element is certain. The driving force of creativity and the artistry of the forge will keep this ancient steel relevant for generations to come.

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